1. Auditioning and the Craft of Acting
-Acting is a Craft
2. An Audition is Not a Performance
-Choose Obtainable Goals -Auditioning and Performing are Two Different Things
3. Audition Philosophy
-Truth in Numbers -Free Yourself by Removing Expectations -Offer Your Gift
4. Chances of Booking the Job
-A Casting Director's Process -The Decision-Makers -The Human Element -The Role is Up for Grabs
5. First Audition
-Type A:The Audition and Meeting -Showing Potential is the Key -Theatrical Preparation versus Audition Preparation
-An Audition is Not Workshop Time -Memorization -Type B
6. The Callback
-Type 1 -Type 2 -Don't Change Your Choices -How to Make Progress from Potential -Your Callback Audition for a New Role -The Perception of You Changes -Callback Memorization
7. The Screen Test
-The Business Side -The Screen Test Day -From Auditioning to Performing -Screen Test Memorization
8. On the Clock
9. General Audition Information and Advice
-Make Specific Choices and Fill in All the Blanks -Asking Questions -Sit or Stand; It's Your Choice -No Blocking -No Props -No Miming
10. The Audition Technique
11. Beats and Beat Changes
-Beat Changes Are in the Script -Write on Your Sides
-Don't Overthink the Beat Changes
12. Major Beat Changes
-Determining the Major Beat Change -Indicating the Major Beat Change -Significance of the Major Beat Change
13. Subject Word
-Example Subject Words -Write the Subject Words Down
-A Reference Point
14. Feeling Word
-Determining the Feeling Words -Justify Your Choices - Variations to Your Choices -No Indecisive Feelings
15. Summary (So Far)
-Notes to the Test Are on Your Sides
16. Major Objective
-Major Objective and Major Beat Change Are Connected
-Take Action -The Major Objective is about What You Want for You -Major Objective Creates a Natural Level of Subtext -Keep It Simple -Remind Yourself of the Major Objective before You Begin -Don't Forget to Be an Actor
17. Dictate the Pace
-Pick up Your Cues -Don't Blame the Reader
18. Think and Feel on the Lines
-Don't Anticipate -Use The Beat Changes
19. Avoid Subtext
-Negative Use of Subtext -Literal Sincere-Feeling Lines
20. The Right Approach, the Right Attitude
-Three Minutes of Joy -Be Confident
21. Beginnings and Endings
-Opening Line -Tag Line
22. High Stakes and Urgency
-The Audition Scene is Important
23. Spontaneity and Listening
24. Voice and Speech
-Natural and Conversational Tone -Spatial Relationship
-Don't Project -No Word is More Important than Any Other Word
25. Charm, Personality and Passion
-Don't Fake It -Passion
26. The Acting Part
27. Don't Forget to Breathe!
-How to Remind Yourself -Use Your Feeling Word
28. The On-Camera Audition
-Do I look at the Camera? -You Have to Pop off the Screen -Slating -What to Wear
29. The Cold Reading Audition
-How to Break it Down
30. Under-5 and Background Work in Daytime Television
-Take the Work and Get the Experience -You Never Know What Can Happen -Under-5 Work -You Are Protecting a Career You Do Not Have Yet
31. The Under-5 Audition
-Technique
32. I Wouldn't Do That If I Were You
-Do's -Don'ts -Get in and Get Out -Don't Forget Your Props and Stuff
33. Building a Relationship with the Casting Director
-The Follow-Up and Staying in Touch -How to Begin That Relationship -No Tricks, Please
34. The Business of Acting and a Career
-Learn the Craft -Talent is a Guarantee of Nothing -The Business
35. Getting an Agent or a Manager
-Go to School -Write to the Assistant -Get a Friend to Help You
36. Headshots and Resumes
-Look Like Your Picture -One Shot Only, Please
37. Daytime Actor Interviews
-Aubrey Dollar -Jordi Vilasuso -Daniel Cosgrove
38. Agent and Manager Interviews
-Michael Bruno -Jill McGrath -Rhonda Price
39. Casting Director Interviews
-Mary Clay Boland -Marnie Saitta -Andra Reeve-Rabb
40. The Workbook
-Make the Workbook -Write Down the Questions -Track Your Progress -Sample Workbook Submissions
41. Final Advice
-Your Obligation and Commitment -Entitled to Make a Living -The Television Audition Technique -Look Yourself in the Mirror -The Core Truth -My Casting Director Perspective -Good Luck
